Hardcore Henry (Хардкор): when he is resurrected with no memory and new robotic limbs, Henry must save his kidnapped wife from a telekinetic psychopath who has plans to weaponise a robo-army. From the opening credits (graphic, but blackly comic violence) you can tell this isn’t your usual action film – most of the movie is shot from a ‘First Person’ perspective, from the point-of-view of ‘Henry’ using an intricate head-cam rig. The film is basically 90 minutes straight of Henry running / jumping / shooting / punching through a long line of obstacles; with some awesome freerunning & parkour (seemingly no wires – or brains!), and high intensity and very high quality stuntwork: the elements combine to create a truly unique and awe-inspiring action spectacle. There’s also a great anarchic/punk sensibility to the movie; anything goes, and there’s a lot of crazy & zany elements… it even using things like subtitles to make a few jokes with. The biggest problem is that when everything is up at 150% the whole time, you end up becoming a bit numb to it towards the end. Another downside of the FPS style is that the camera is very shaky and has a warped fish-eye lens which distorts a lot of the outer frame. Hardcore Henry is a film that is truly cutting edge, in that it couldn’t have even been made a couple of years ago – the only remotely close comparison you could draw would be a less offensive, but higher-octane version of the Crank films. It’s fun, impressive, and completely mental, but overall struggles to engage after a while. Best viewed after consuming a twelve pack of Red Bull.
NOTE: The entire film was spawned from this music video – if you fancy 90 mins of this, look no farther than Hardcore Henry.
Dear God NO! [Grindhouse Cut]: a murderous outlaw biker gang kill their rivals and hide out in the woods, where they meet a crazy scientist and big foot… I think. Yup, here’s another ‘nasty nostalgia’ film with faux grain effect, pops and scratches, heavy saturation, projector sounds, mono/muffled soundtrack, tracking issues, etc, etc. It’s only 81 minutes long, but is crammed with filler: you get 5 minutes straight of up-close ‘mondo’ style topless dancing, a psychedelic heroin dream trip, and a Nazi Dr Frankenstein babe trip – all for no reason other than padding out the runtime (and increasing the shock factor). Made on a shoestring, the film’s packed with bad dialogue, bad acting, bad characters, actor changes, and ‘plot threads’ that make literally no sense. It’s like the director asked a 15 year old boy what he thought was cool – boobs, swearing, drinking, and bad attitudes man – and just rolled with that. We first meet the biker gang the morning after they trash a bus full of nuns and rape/murder them all, and it only goes downhill from there; bottoming out with a snuff scene that goes too far with a double rape and fetus removing/killing. I’ve seen much worse than this and not been as disgusted as this just nasty for nasty’s sake; and I couldn’t believe that there are directors out there that make Rob Zombie look like a proficient filmmaker. I’ve sat through some truly terrible movies in my day, and this is down there with the worst of ‘em. The only good thing about the entire project is it’s old school poster, and the only way I can imagine convincing anyone that this has worked is if you pitch it as a poor-taste no-budget physical effects show reel – or a masterclass in using controversy and a good poster as a get-rich-quick idea. A very very niche and ultra-nasty bikesploitation film.
Narcos (Season 1): two D.E.A. agents try to take down the world’s most notorious criminal – Pablo Escobar; a humble weed smuggler who became the wealthiest criminal in history. This feels like a mix between a high-production TV series, and a documentary – with dozens of long sections of expositional dialogue, archive footage, and additional information explaining (in great detail) external factors leading to some of the plot points. Even though this wasn’t particularly slavish to the historical facts; the continual reliance on archive footage makes it feel like it’s handicapping the story to non-fiction only. The ‘Original’ stuff is all brilliantly shot and written: and doesn’t shy away from the nasty side of the drug trade and organised crime; there’s plenty of blood, guts, sex, and violence in here for added authenticity. This is matched by a handful of fantastic lead performances from a cast of relatively unknown actors, who set the screen on fire. In fact, my only real gripe with watching Narcos is trying to figure out how long has passed between scenes – at one point a baby becomes a proper kid in the next scene, but Escobar is still running for election! Season 1 (10 Episodes) covers 43 out of 44 years of Escobar’s life in sufficient detail; leaving the worry that season 2 will be padded out or overly dramatised: 10-12 episodes could have made this a great one-off. Narcos is a gangster / crime epic that’s up there with the best of them: it’s is smart, thoroughly engaging, and truly addictive TV; adding another string to Netflix’s bow. Netflix and Chill? More like Narcos and Kill!!1!11!! AMIRITE?!?
The November Man: a lethal ex-CIA agent is brought back in for a simple extraction that tangles him up with a Russian politician, the CIA, and his former protegé. It’s one of those films set in the Soviet Bloc in which ‘everebadee talkz Eengleesh‘. It also boasts two former James Bond stars reprising the best bits of their roles – and for what it’s worth, it’s great to see Broz’s charisma again as he pouts and shouts his way from scene to scene in a antiheroic fashion. For a political/thriller there’s more than enough solid action scenes: car chases, foot chases, gunfights (complete with some John Woo style jumping / slow mo). There’s a shape-shifting plot that’s fun to follow, especially because the entire film is back to back plot-action-plot-action, that only briefly dips in the middle. It’s not all roses however; some of the sub-plots (like the mentor / master angle) feel very clunky, there’s a couple of weird directorial choices (like mad Dutch angles everywhere), and the woeful title isn’t explained until last 10 minutes – and it barely makes sense. Most importantly, there’s very little to distinguish this from a thousand other similar sub-Bourne movies based on shady CIA operations. The November Man is a solid – but unremarkable – Spy Thriller that sits just above the middle ground with entertaining performances and action.
Enter The Void: follows the final hours, afterlife, and reincarnation of a low-level drug pusher in neon-drenched Tokyo. If you’re unfamiliar with Gaspar Noe, you’ll learn pretty quickly that his film’s aren’t merely ‘movies’ or ‘stories’, but full-on immersive experiences – unique, ambitious, and experimental. The first, and second, minutes feel like 12-rounds with Tyson – click to see for yourself. if you can’t handle that, don’t go anywhere near Enter The Void. Everything ‘Noe’ is in here – long takes, disorienting audio and visuals, brutal and challenging scenes & stories, non-linear storytelling; not to mention explicit / sensational / controversial subject matter. Halfway through the runtime we get a recap of the beginning, and from then on the film seems to lose its way – filling the time with elongated CGI trips and floaty filler, overstaying its welcome, and pushing the viewers further and further from the story, until the final ten minutes, which is just gratuitous shagging, blowjobs, and cunni for no real reason (it did explain why I could only get this as a German import – classic Germany), topping out with a POV (Point-of-Vagina!) money shot. I don’t say this often, but there were waaaaay more nudity than required in this!! Technically it’s jaw-dropping and mind-boggling: the camera glides in / through / over any objects so fluidly – yet these astonishing feats are countered by overlong sequences of trippy, psychedelic, CGI visuals – one thing’s for sure, there’s no faulting Noe’s commitment to his vision. At just under three hours, this is simply far too long – there’s a stunning 80-100 minute film in here. Enter The Void is both immersive and repulsive: a well-realised idea, centred around an average story, with a divisive final hour, and trainwreck final 10 minutes… all told through an exciting, cinematic, and truly unique out-of-body experience that no other director would even dare to take on. I’m split right down the middle.
Magic Mike: loosely based on Channing Tatum’s early career (supposedly), it depicts the lives of several male strippers; some of whom want to party all the time, but others want more than the superficial lifestyle. Not really sure what the film was trying to convey… life is tough when you’re a stripper? Yeah, it must totally suck to be a handsome, young, guy that women will do anything to bone – SYMPATHY FAIL! McConaughey is on top crazy form – doing that deranged southern thang that only he can do this well. Is Magic Mike essentially Striptease / Showgirls for women? Pretty much, but the main differentiator is that Soderberg is behind the camera, so it’s done with an indie sensibility; and has been coloured/filtered to oblivion. When it comes to the crunch, it doesn’t feel like there’s much of a film in here at all, just an excuse for the ladies (and some guys) to see CT, MMc, Kevin Nash and a few other guys all oily and six-packy.
Note: there are a couple of ladies in here… somewhere.
Filth: a detective gunning for promotion is also heading for a breakdown, but how long can he keep his many plates spinning? This is the latest movie adaptation of an Irvine Welsh book, and feels like it’s going for a “Trainspotting for the teenies” angle. It would be silly to complain about the content of a film called Filth, but in case you need a heads-up: it’s crammed with deviant sex & sexuality, drug use, violence, and oodles of fantastically creative swearing, amongst other things. The over-emphasis of the of the craziness going on in Bruce’s mind – hallucinations, binges, sex, porn – don’t really detract from the story, because Bruce’s nose-candy nose-dive IS the story. Despite all the headline-grabbing controversial content crammed into this, the main talking point is undoubtedly James McAvoy’s performance; in an era where leading men no longer required to be likeable or even remotely empathetic, he works wonders with the few tiny slivers of humanity he gets. My biggest concern of the picture however is it’s extremely unflattering – and wholly unrealistic – take on Scotland and it’s culture: if it’s not films about the Loch Ness Monster, it’s about the druggies of Trainspotting, Red Road, NEDS, and now Filth – the Scottish tourist board must really hate our film industry.